Nicolo Paganini: With an Analysis of His Compositions and a Sketch of the History of the Violin

by Francois-Joseph Fetis, Stewart Pollens (Introduction)

Overview

Written by an immensely important musicologist, this rare 1860 monograph analyzes Nicolo Paganini's compositions and provides a fascinating history of the violin. Author François-Joseph Fétis was Paganini's close friend and well acquainted with many other Romantic composers and artists. Students of the history of music, music lovers, violinists, and musicologists will find this volume a rare source of firsthand observations on the legendary violin virtuoso and his circle.
The treatise begins with a survey of the violin's history that profiles famous makers, including the Amati, Stradivari, and Guarneri families. The subsequent essay, "Art and Artists," provides a concise review of performances, focusing on the Italian and French schools. The biography of Paganini follows, providing rare perspectives on the artist's playing, personal habits, and social behavior — a colorful portrait of a legendary musician as well as a valuable historical resource.

Product Details

ISBN-13:	9780486316574
Publisher:	Dover Publications
Publication date:	06/26/2013
Series:	Dover Books On Music: Composers
Sold by:	Barnes & Noble
Format:	eBook
Pages:	112
File size:	1 MB

About the Author

François-Joseph Fétis was a Belgian musicologist, composer, critic, and teacher. One of the 19th century's most influential critics, he compiled the Biographie universelle des musiciens et bibliographie générale de la musique, an enduring resource.
Stewart Pollens is a maker of violins and keyboard instruments who served as the Conservator of Musical Instruments at the Metropolitan Museum of Art from 1976-2006. He is the founder of Violin Advisor, LLC, a consulting firm that advises purchasers of fine violins.

Read an Excerpt

Nicolo Paganini

With an Analysis of His Compositions and a Sketch of the History of the Violin

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By François-Joseph Fétis

Dover Publications, Inc.

Copyright © 2013 Stewart Pollens
All rights reserved.
ISBN: 978-0-486-31657-4

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CHAPTER 1

SKETCH OF THE HISTORY OF THE VIOLIN.

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The Instrument.

* * *

Despite all contrary assertions, based upon pretended monuments, Oriental, Greek, and Roman antiquity was unacquainted with instruments played with a bow. Neither India nor Egypt furnish the least traces of them; nor do Greece and Italy; nor, in fact, does the whole of the old civilized world. As I stated in the "Résumé Philosophique de l'Histoire de la Musique," the bow comes from the West; it was introduced into the whole of Europe by the western nations. Though Viols are found among the modern Arabs in Persia and Turkey, they were taken there by Europeans in the time of the Crusades. The Goudock of the Russian peasant, and the Crwth of the ancient Irish, appear to proceed from the highest antiquity, and to have been the type of instruments of this nature. The Irish chroniclers speak of musicians who, in the sixth century, were celebrated for their talent on the Crwth, a species of Viol with six strings; and Venance Fortunat, a Latin poet who wrote in 609, states distinctly that this instrument belonged to Great Britain.

It is not my intention to follow up here the various transformations of bow instruments in the middle ages; it will suffice to observe that there were frequent changes in them from the thirteenth to the sixteenth century; as much in the common kinds, vulgarly called in French Rebec, and in German Geige ohne Bunde (Violins without band or side pieces), which possessed only three strings, as in the improved Viols, the body of which was formed of belly and back joined by side pieces, as in our Violins, Tenors, and Basses. The smaller kinds also possessed only three strings; the larger kind had four; there were also others with five, six, and seven strings.

In the middle ages, the Rebec, called Rubebbe, possessed but two strings. It is the same instrument which in Arabia acquired the name of Rebab. From the fifteenth century it is found with its three strings. This instrument took nearly the form of a mandoline; the neck and the body being formed of a single piece, the finger-board being as wide as the entire instrument, and reaching within a short distance of the bridge. No passage was left for the bow in the body of the instrument, but the body was very narrow, and the bridge formed a point for the middle string to rest upon, so that this string could be touched by the bow without touching the others. Like all instruments later than the fifteenth century, the Rebec was made of four different sizes, the smallest of which was called Discant, or upper; then followed, in progressively larger proportions, the Alto, the Tenor, and the Bass. The dancing-master's Kit, of the latter years of the eighteenth century, was all that remained of the ancient Rebec.

The Viol was called Vielle in the middle ages. This is the Viola of the Italians, and the Vihuela of the Spaniards. There were several kinds. As early as the fifteenth century, one of this kind had a flat belly, and a place for fixing the strings similar to that of the Guitar. As in the Lute, and all stringed instruments played with the fingers, the finger-board was divided into distances for placing the fingers. From the fifteenth century the bellies of Viols assumed the raised or vaulted form, the backs remaining flat. The cavities at the side, which had formerly been very large and straight, were made in the shape of a section of a circle, and were reduced to the dimensions necessary for the use of the bow. The raised bellies rendered it necessary to alter the bridge into the bridge-shape, so as to incline towards the ribs. Hence the term Bridge, which is called by the Italians, from its form, Ponticello. The divisions for the fingers on the finger-board were retained on the Viols up to the second half of the seventeenth century. During the fifteenth century the vaulted form of Viol possessed five strings; in the commencement of the sixteenth it had six. The first string was called in Italy Canto, the second Sotana, the third Mezzana, the fourth Tenore, the fifth Bordone, and the sixth Basso.

The Viol was divided into three kinds, which were called Upper or Soprano, Tenor, and Bass. The Tenor was used also for playing the second upper part, or Alto; it was then tuned a note higher: the tuning of the upper Viol was, commencing from the first string, D, A, E, C, G, D; that of the Tenor tuned to Alto, A, E, B, G, D, A; the same instrument tuned to Tenor, G, D, A, F, C, G; and the Bass, D, A, E, C, G, D. At the commencement of the seventeenth century, the use of instruments specially for accompanying the voice became general; there was added to the other Viols a Double-Bass Viol, which was called Violone, that is, large Viol. This also had six strings, and was tuned a fourth lower than the Bass Viol, thus A, E, B, G, D, A. Prior to 1650, this instrument was rarely used in France, it was then called "Viole à la mode de Lorraine."

In imitation of the vaulted form of Viol, there was made, already in the fifteenth century, a small instrument of the same kind, which the Italians called Violino, that is, small Viol. This is the instrument which was called Violon in France, and Geige in Germany.

It is probable that the Violin originally had the same number of strings as the other Viols; that these were tuned a fourth above the upper Viol, viz., G, D, A, F, C, G; and that the neck also possessed divisions for the fingers; but it was soon discovered that the fingerboard of the Violin was not wide enough to allow any one to play with facility on so large a number of strings; and that the space for the fingers to produce the notes was too narrow to admit of divisions. These were removed; the strings, reduced to four, were tuned in fifths; making the first string E, as it is at the present day. It cannot be doubted that these improvements originated in France; for on reference to the list of instruments employed in the "Orfeo" of Monteverde, it will be seen that the Violin was called in Italy, at the end of the sixteenth century, and the beginning of the seventeenth, "Violino piccolo alla francese."

The oldest maker of Violins on record was a native of Brittany, named Jean Kerlin. He followed his trade about the middle of the fifteenth century. La Borde, author of the imperfect and voluminous "Essai sur la Musique," relates that he saw in Brittany a Violin with four strings, the neck of which did not appear to have been changed, and which, instead of the ordinary tail-piece, had a small piece of ivory inlaid, pierced with four holes. This Violin was thus labelled, "Joann. Kerlino, anno 1449." It was afterwards brought to Paris, and Koliker, a musical instrument maker of that city, had it in his possession in 1804. The belly was more raised than in good modern Italian Violins, and was not equally rounded at the upper and lower extemities; the sides were ill-formed and flattened. Its tone was sweet and muffled, and resembled that of instruments made by Antonio Amati at the close of the sixteenth century. After Jean Kerlin, there is a lapse of sixty years in the history of the manufacture of Violins, for the only maker of this instrument whose name has come down to us is Gaspard Duiffoprugcar, born in the Italian Tyrol, who commenced making his Violins at Bologna about 1510, working afterwards in Paris, and at Lyons. One Violin only of the large pattern which bears his name is in existence; it is dated 1539. The quality of tone of this instrument is powerful and penetrating, but when played upon for some time, it loses its intensity. Like an old man, it needs repose to recover its faculties. The scroll represents the head of a king's jester, with a plaited frill. This Violin belonged to M. Meerts, formerly first solo violinist of the Theatre Royal, Brussels, and professor at the Conservatory of that city.

Gaspard di Salo, thus called from being born in the small town of Salo, on the lake of Garda, in Lombardy, worked in the second half of the sixteenth century. He was specially celebrated for his Viols, Basses, and Double-Bass Viols, then more used than the Violin. Nevertheless, an excellent Violin of his make, dated 1576, was met with in a collection of valuable instruments which were sold at Milan in 1807; and the Baron de Bagge was in possession of one of which Rodolphe Kreutzer often spoke with admiration. These instruments, of rather a large pattern, possess a powerful tone, approximating to that of the Alto.

Contemporaneously with Gaspard di Salo, the two brothers, Andrea and Nicolo Amati became famous for the excellence of their Viols and Bass Viols; they also made excellent Violins, the tone of which was mellow and agreeable, but they were wanting in power, like all the instruments made by the members of this family. Andrea and Nicolo, about 1570, made Violins of a large pattern for the chamber music of Charles IX. King of France. These instruments were remarkable for the beauty of their form, and perfection of finish. They were covered with an oil varnish, of a golden colour, shaded with red. Two of these were seen in Paris by Professor Cartier about 1810. The successors of Andrea and Nicolo Amati retained in the family the fame of those artists for more than a century and a half. Antonio, son of Andrea, Geronimo, his brother, and Nicolo, son of Geronimo, were instrument makers of high repute, but the sonority of their Violins and Basses, admirably adapted for the music of their time, is much too weak for the modern noisy system; however, Paganini possessed a Violin of Geronimo Amati, of large pattern, which he prized most highly.

Two Italian makers were also famous at the beginning and towards the middle of the seventeenth century for their Violins: the first is Giovanni Paolo Maggini, who had an establishment at Brescia, his native town. His instruments are dated from 1612 to 1640. The pattern of these Violins is generally very large; although there are some of the small size. The bellies are raised, the back, rather flat at the extremities, swells out exceedingly towards the sides, which are very wide; the curves being well rounded towards the angles. A double row of purfling runs round both belly and back, terminating in some instances in an ornament at the upper and lower parts of the back. Most of Maggini's Violins are varnished with spirit of wine, of a deep gold colour. Their tone is less mellow than that of the Stradiuari, and less powerful than the Guarnieri; it has more analogy to the tone of the Viol, and its character is somewhat melancholic. The second maker of that period celebrated in Italy is Giovanni Granzino; he resided at Milan, and worked there from 1612 to 1635. His Violins, of large pattern, resemble those of Gaspard di Salo.

The fame of Italy for the construction of bow instruments attained its zenith between the middle of the seventeenth century and the first half of the eighteenth. To this period belong the names of Stradiuari and Guarnieri. Antonio Stradiuari, better known under the Latinised name of Stradivarius, the most celebrated maker of Violins, Viols, and Basses, was born at Cremona in 1664; he reached his eighty-third year, working until his death in 1747. A pupil of the Amati, he worked a long time with them, and upon their models. Towards 1700 he left them, and from that time changed his proportions, increased his form, lowered the bellies, and was as fastidious in the degrees of thickness of the wood as he was in the choice of the wood he employed. Contrary to the principles of the older Italian masters, his thickness increased towards the centre, in order to give support to the bridge upon which the tension of the strings bears, and diminished gradually towards the sides of the instrument. All is calculated, in the works of this excellent artist, for the better production of tone. To these advantages are superadded equality in all the strings, grace of form, finish of details, and brilliancy of varnish. In a large concert room a good Violin of Giuseppe Guarnieri has more power pf sonority; but in a drawing-room nothing can possibly equal the brilliant mellowness of a well-preserved Stradiuari. Unfortunately many have fallen into the hands of unskilful workmen for repairs.

The family of the Guarnieri or Guarnerius has also become illustrious for the manufacture of bow instruments. This family was also originally of Cremona, and constantly resided there, with the exception of Pietro Guarnieri, who settled at Mantua, and still resided there in 1717. The most celebrated of these makers is Giuseppe Guarnieri, called in Italy "Guarnieri del Gesu," from his Violins bearing the mark IHS. He was born at Cremona at the close of the seventeenth century. It is said that he learned his trade in the workshop of Stradiuari, but he never attained his master's delicacy of finish; on the contrary, his work evinces very frequently great carelessness. His sound-holes, nearly straight and angular, are badly shaped; his purfling badly traced; in fact, his instruments carry no masterly appearance, and one is tempted to believe that the excellent quality of their tone arises more from the happy choice of material than from studied principles. Nevertheless, on close inspection, it is evident positive principles guided him in the construction of his instruments; he has copied no maker who preceded him. He had two patterns, one small, the other large. The instruments of small pattern are the most numerous, their bellies are slightly raised, and their thickness rather exceeds that of the Stradiuari. The large patterns which proceed from Giuseppe Guarnieri are few in number, and rarely met with. It was upon one of these Violins that Paganini played at all his concerts. The tone of these instruments is exceedingly brilliant, and carries to a great distance, but is less round and mellow than the instruments of Stradiuari, and pleases less near than at a certain distance.

After Stradiuari and Giuseppe Guarnieri, the art seems to have remained at its highest point of excellence, and the Italian makers appear not to have sought to improve, contenting themselves with copying the one or the other of these masters. Lorenzo Guadagnini, a pupil of Stradiuari, copied the small pattern of his master. The first and second string of his Violins possess brilliancy and roundness, but the third is unfortunately muffled. He had a son, who worked at Milan until towards the end of 1770, following the style of his father; but his instruments are less sought after. The Gagliani also copied the Stradiuari, but their instruments are far from equalling those of the master, doubtless from want of care in the selection of material. Ruggieri and Alvani copied the form of Giuseppe Guarnieri; they produced good Violins, which are less valuable, however, than the Stradiuari;

The Tyrol lays claim to some excellent makers of bow instruments, the chief of whom is Jacob Stainer, who was born about 1620, at Absom, a village near Inspruck. This celebrated maker, at three different periods, changed his make. Firstly, while pupil of the Amati of Cremona: the Violins of this period are admirably finished, and are extremely scarce. The belly is more raised than in the Amati, the scrolls longer and wider in the lower part. All the labels of these Violins are written and signed in his own handwriting. One of these magnificent instruments, dated 1644, was the property of Gardel, balletmaster of the Opera at Paris, who performed upon it successfully in the ballet of "La Dansomanie." Secondly, when established at Absom, after having married, he produced an immense number of instruments carelessly finished, from 1650 to 1667. However, after having led a life of poverty for several years, obliged to hawk his own Violins, which he sold for six florins each, he received orders from some noblemen, which improved his position. His genius from this period took a new flight, and he produced some splendid instruments, which are recognised by scrolls that represent heads of animals, by the close veining of the bellies, by the close and even small ribs, and by the varnish, resembling red mahogany faded by time into a brown colour. Stainer was assisted at this time by his brother Marcus, who later in life entered the order of the Brother Hermits, by the three brothers Klotz (Mathias, George, and Sebastian), and by Albani, all of whom were his pupils. The reproach attached to Stainer's instruments of possessing a nasal tone applies only to this period, the labels of which are printed; there are, however, some admirable instruments of this time, which were in the possession of the violinist Ropiquet, of the Marquis de las Rosas, a grandee of Spain, of the Count de Marp, a Parisian amateur, and of Frey, an artist of the Opera, and publisher of music. There is an excellent Tenor of this period, formerly the property of M. Matrôt de Préville, governor of the port of L'Orient.

(Continues...)

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Excerpted from Nicolo Paganini by François-Joseph Fétis. Copyright © 2013 Stewart Pollens. Excerpted by permission of Dover Publications, Inc..
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Table of Contents

Contents

Sketch of the History of the Violin,
Art and Artists,
Nicolo Paganini,
Paganini Appreciated as a Composer. Analysis of his Works,